Before his masterpiece The Rise of the Novel made him one of the most influential post-war British literary critics, Ian Watt was a soldier, a prisoner of war of the Japanese, and a forced labourer on the notorious Burma-Thailand Railway. Both an intellectual biography and an intellectual history of the mid-century, this book reconstructs Watt's wartime world: these were harrowing years of mass death, deprivation, and terror, but also ones in which communities and institutions were improvised under the starkest of emergency conditions. Ian Watt: The Novel and the Wartime Critic argues that many of our foundational stories about the novel—about the novel's origins and development, and about the social, moral, and psychological work that the novel accomplishes—can be traced to the crises of the Second World War and its aftermath.

A landmark collection of Ian Watt's essays on Joseph Conrad.

“Nothing short of a masterpiece. . . . One of the great critical works produced since the 1950s.”—New York Times

This is the story of a most ingenious invention: the novel. Desribed for the first time in The Rise of The Novel, Ian Watt's landmark classic reveals the origins and explains the success of the most popular literary form of all time. In the space of a single generation, three eighteenth-century writers -- Daniel Defoe, Samuel Richardson and Henry Fielding -- invented an entirely new genre of writing: the novel. With penetrating and original readings of their works, as well as those of Jane Austen, who further developed and popularised it, he explains why these authors wrote in the way that they did, and how the complex changes in society – the emergence of the middle-class and the new social position of women – gave rise to its success. Heralded as a revelation when it first appeared, The Rise of The Novel remains one of the most widely read and enjoyable books of literary criticism ever written, capturing precisely and satisfyingly what it is about the form that so enthrals us.

Before his masterpiece The Rise of the Novel made him one of the most influential post-war British literary critics, Ian Watt was a soldier, a prisoner of war of the Japanese, and a forced labourer on the notorious Burma-Thailand Railway. Both an intellectual biography and an intellectual history of the mid-century, this book reconstructs Watt's wartime world: these were harrowing years of mass death, deprivation, and terror, but also ones in which communities and institutions were improvised under the starkest of emergency conditions. Ian Watt: The Novel and the Wartime Critic argues that many of our foundational stories about the novel—about the novel's origins and development, and about the social, moral, and psychological work that the novel accomplishes—can be traced to the crises of the Second World War and its aftermath.

In this volume, Ian Watt examines the myths of Faust, Don Quixote, Don Juan and Robinson Crusoe, as the distinctive products of modern society. He traces the way the original versions of Faust, Don Quixote and Don Juan - all written within a forty-year period during the Counter Reformation - presented unflattering portrayals of the three figures, while the Romantic period two centuries later recreated them as admirable and even heroic. The twentieth century retained their prestige as mythical figures, but with a new note of criticism. Robinson Crusoe came much later than the other three, but his fate can be seen as representative of the new religious, economic and social attitudes which succeeded the Counter-Reformation. The four figures help to reveal problems of individualism in the modern period: solitude, narcissism, and the claims of the self versus the claims of society. They all pursue their own view of what they should be, raising strong questions about their heroes' character and the societies whose ideals they reflect.

A literary scholar explains how eighteenth-century novels were manufactured, sold, bought, owned, collected, and read alongside Protestant religious texts. As the novel developed into a mature genre, it had to distinguish itself from these similar-looking books and become what we now call “literature.” Literary scholars have explained the rise of the Anglophone novel using a range of tools, from Ian Watt’s theories to James Watt’s inventions. Contrary to established narratives, When Novels Were Books reveals that the genre beloved of so many readers today was not born secular, national, middle-class, or female. For the first three centuries of their history, novels came into readers’ hands primarily as printed sheets ordered into a codex bound along one edge between boards or paper wrappers. Consequently, they shared some formal features of other codices, such as almanacs and Protestant religious books produced by the same printers. Novels are often mistakenly credited for developing a formal feature (“character”) that was in fact incubated in religious books. The novel did not emerge all at once: it had to differentiate itself from the goods with which it was in competition. Though it was written for sequential reading, the early novel’s main technology for dissemination was the codex, a platform designed for random access. This peculiar circumstance led to the genre’s insistence on continuous, cover-to-cover reading even as the “media platform” it used encouraged readers to dip in and out at will and read discontinuously. Jordan Alexander Stein traces this tangled history, showing how the physical format of the book shaped the stories that were fit to print.

Max Byrd, the renowned author of Jackson and Jefferson, brings history to life in this stunning novel set in America’s Gilded Age. Grant is an unforgettable portrait of a colorful era—and the flawed, iron-willed, mysterious giant at its center. Ulysses S. Grant pursued a tragic war to its very end. But his final battle starts in 1880, when he loses his race to become the first U.S. President to serve three terms, goes bankrupt, and begins a fight against cancer that will prove to be his greatest challenge. Through journalist Nicholas Trist, readers follow Grant’s journey—and along the way meet Grant’s sworn enemy Henry Adams and Adams’s doomed wife, Clover, the old soldiers Sherman and Sheridan, and the always clever, always scheming Mark Twain. Revealed here are not only the penetrating secrets of our eighteenth president, but the intimate power-brokering that led to the end of Grant’s career, setting the stage for a new era in American history—one defined by politics, not warfare. “Serious, intricate . . . gripping . . . Byrd is an expert at linking the products of his own imagination with historical facts.”—The New York Times Book Review “With the license and gifts of a first-rate novelist, Max Byrd has managed in Grant to reveal the man far better than those who have tried before.”—San Francisco Chronicle “A vibrant, stunning story of Grant’s last years, but best of all, a gripping tale of ‘the reborn nation on the other side of the war.’ ”—Civil War Book Review “Splendid . . . nothing less than a visit with greatness.”—Associated Press “Historical fiction doesn’t get any better than this.”—Booklist

This is an examination of the principle works of Anglo-American novel criticism, defining the values, method and concepts that these works have in common and advancing a defence of Anglo-American humanistic criticism and the ideas proposed by Structuralism, Marxism and deconstruction.

Neil Garvin is a seventeen year old living in a small town outside Las Vegas. Abandoned by his mother when he was three, he blames his abusive father - the local sheriff - for driving her away. Neil is good-looking, popular, the quarterback of the high school football team and as cruel to his peers as his father is to him. He plans to get out of town on his "million dollar arm," until the night he accidentally commits a terrible crime and his father, unasked, covers up for him. As the FBI arrives and begins to narrow in, Neil and his father become locked in a confrontation that will break them apart and set them free